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The Dramatic Publishing Company 



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Hageman's Make-Up Book 

By MAURICE HAGEMAN 

Price, 25 cents 

The importance of an effective make-up is becoming more appar« 
ent to the professional actor every year, but hitherto there has been 
no book on the subject describing the modern methods and at the 
same time covering all branches. of the art. This want has now 
been filled. Mr. Hageman has had an experience of twenty years 
as actor and stage-manager, and his well-known literary ability has 
enabled him to put the knowledge so gained into shape to be of 
use to others. The book is an encyclopedia of the art of making up. 
Every branch of the subject is exhaustively treated, and few ques- 
tions can be asked by professional or amateur that cannot be an- 
swered by this admirable hand-book. It is not only the best make- 
up book ever published, but it is not likely to be superseded by 
any other. It is absolutely indispensable to every ambitious actor. 

CONTENTS 

Chapter I. General Remarks. 

Chapter II. Grease-Paints, their origin, components and use. 

Chapter III. The Make-up Box. Grease-Paints, Mirrors, Face 
Powder and Puff, Exora Cream, Rouge, Liquid Color, Grenadine, 
Blue for the Eyelids, Brilliantine for the Hair, Nose Putty, Wig 
Paste, Mascaro, Crape Hair, Spirit Gum, Scissors, Artists' Stomps, 
Cold Cream, Cocoa Butter, Recipes for Cold Cream. 

Chapter IV. Preliminaries before Making up; the Straight Make- 
up and how to remove it. 

Chapter V. Remarks to Ladies. Liquid Creams, Rouge, Lips, 
Eyebrows, Eyelashes, Character Roles, Jewelry, Removing Make-up. 

Chapter VI. Juveniles. Straight Juvenile Make-up, Society 
Men, Young Men in 111 Health, with Red Wigs, Rococo Make-up, 
Hands, Wrists, Cheeks, etc. 

Chapter VII. Adults, Middle Aged and Old Men. Ordinary Type 
of Manhood, Lining Colors, Wrinkles, Rouge, Sickly and Healthy 
Old Age, Ruddy Complexions. 

Chapter VIII. Comedy ar.d Character Make-ups. Comedy Ef- 
fects. Wigs. Beards, Eyebrows. Noses. Lips, Pallor of Death. 

Chapter IX. The Human Features. The Mouth and Lips, the 
Eyes and Eyelids, the Nose, the Chin, the Ear, the Teeth. 

Chapter X. Other Exposed Parts of the Human Anatomy. 

Chapter XI. Wigs, Bearers, Moustaches, and Eyebrows. Choosing 
a Wig, Powdering the Hair, Dimensions for Wigs, Wig Bands, Bald 
Wigs. Ladies' Wigs, Beards on Wire, on Gauze, Crape Hair, Wool, 
Beards for Tramps, Moustaches, Eyebrows. 

Chapter XII. Distinctive and Traditional Characteristics. North 
American Indians, New England Farmers, Hoosiers, Southerners. 
Politicians, Cowboys, Minors, Quakers, Tramps, Creoles, Mulattoes, 
Quadroons, Octoroons. Negroes, Soldle.j-s during War, Soldiers dur- 
ing Peace, Scouts, Pathfinders, puritans, Early Dutch Settlers, 
Englishmen, Scotchmen, Irishmen, Frenchmen, Italians, Spaniards, 
Portviguese, South Americans, Scandinavians, Germans, Hollanders. 
Hungarians, Gipsies, Russians, Turks, Arabs, Moors, Caffirs, Abys- 
sinians, Hindoos, Malays, Chinese, Japanese, Clowns and Statuary. 
Hebrews, Drunkards, Lunatics, Idiots, Misers, Rogues. 

Address Orders to 
THE DRAMATIC PUBLISHING COMPAQ 

CHICAGO. ILLINOIS 



IN GRANNY'S TIME 



A MONOLOGUE FOR A WOMAN 



By 

LAURA WILLIAMS 



Copyright 1916 
By The Dramatic Publishing Company 



CHICAGO 
THE DRAMATIC PUBLISHING COMPANY 



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DEC 26 V |9I6 

©CLD 45735 



IN GRANNY'S TIME 

Monologue for a Young Woman. 



In Granny's time things went so slow and everyone 
was so polite. The songs, the books, the dance, the 
show were always perfectly all right. They used to 
sing in dainty voice and manner so demure, songs of 
sacred meaning with text so sweet and pure. [Sings 
"In the Gloaming" or verse of any old-fashioned song.] 

But nowadays it's just the other way. Ah — quite 
another way. The songs she used to sing no longer hold 
their sway. But songs we like today are sung this 
way : [Sings chorus of any popular song in exaggerated 
manner.] 

In Granny's time they used to walk with stately 
tread or mincing step. Not raising head nor looking 
round. Eyes kept demurely on the ground. [Walks 
about with small steps, etc., to " Auld Lang Syne."] 

But now the girls you're sure to meet on Tremont 
or on any street don't walk as Granny used to do. 
Watch and keep a few in view. [Walks with exag- 
gerated stride to popular music.'] 

In Granny's time they used to walk the minuet with- 
out a care. In gown of silk with rose in hair. [Whis- 
pers.'] She flirted so discreetly no one knew it. [Dances 
minuet, smiling coquetishly and shyly at imaginary 
partner.] 

But, alas, these days ! We dance a wild step dance. 

In shirt waist suit or skirt. And laugh and prance. 

In the dance we care not who sees us flirt. [Dances 

modern dance, wildly laughing and talking to partner.] 

[Pauses, steps forward.] 

3 



4 IN GRANNY'S TIME 

Dear Granny's time, we've said farewell to you. The 
things you did so well we've not the time to do. But 
fashions change so rapidly ; perhaps we some day yet may 
see in our granddaughters sweet and pure reflections of 
those grandmammas demure. 



The Outcast's Daughter £ g£™ ets 

By MARION EDDY PRICE, 25 CENTS 

Ten male, five female and one child characters. Plays two and 
one-half hours. Modern costumes. Three interior, one exterior 
scenes, all easily arranged where there is any scenery at hand. No 
stronger melodrama has been given the play-loving public. Full of 
the strongest appealing heart interest, intense, pathetic, real life, 
where joy and laughter are mingled with pathos and suffering, but 
all ending happily. A melodrama without a villain or the use of 
firearms. Amateurs may play it successfully, it plays itself, and 
it is adapted to strong repertoire companies. 

CAST OF CHARACTERS 

Carl Faber An ex-convict 

Howard Ross A manufacturer 

Dennis Hogan Servant to Roi s 

Abel Gardener to Ros s 

Judge Havens Of the police court 

Recorder , Of the police court 

Lettner Clerk of police court 

Second Court Clerk Clerk of police court 

Two policemen 

Little Hugo Agatha's child 

Agatha Sterne Ross' bookkeeper 

Ida Rheinhold A retired singer 

Mrs. Wilmuth A washerwoman 

[Katie Factory girl 

Frances Factory girl 

SYNOPSIS OF SCENES 

Act 1. Ross' private office. "What has given me the honor of 
this visit?" "I will never sing again. My life has been a sad 
failure." "Good God! My mother!" "I have done wrong, I confess, 
but when a mother asks, a child must forgive. Oh, Mr. Ross, help 
me." "You, my rich and famous mother, to you I was nothing, 
and you — you are nothing — nothing to me." "Agatha! Agatha! 
My child! My child!" 

Act 2. Agatha's attic. "My poor father. So young- and strong. 
How I could have loved him." "Yes, Katie is right, I have nothing 
but bread for my sweet child." "Madam, I vould lie if I say she 
vas anything but a lady." "On the other side, towards the garden, 
there are a few rooms I have never used. If you will take 
them " "You do not look like a man who could commit mur- 
der. How was it?" "I was a weak man and many misfortunes 
made me desperate." "My picture! I must be mad." "You are 
good, child, but you shall not call me father." "Father! Father!" 

Act 3. Ross'' Garden. "He is so good to me, but I cannot forget 
my poor unhappy father." "The picture was taken when I was 
young. He shall have it." "Stay here and be my wife." "That 
suspicious old man is in the garden." "For her I sacrificed every- 
thing." "Do you want to go to prison again?" "My father needs 
me to defend and comfort him." 

Act 4. A Police Court. "Do not ask me, your honor — I am an 
*oc-convict." "Your silence will not help you." "It vas dark und. 
Mrs. Sterne vas that scared she vas faint." "I hope, sor, yer honor 
believes in a future life, sor." "He wished to see his child; I am 
his child." "Grandfather, we love you." "I am his wife. Do not 
condemn him." 

Address Orders to 
THE DRAMATIC PUBLISHING COMPANY 

CHICAGO, IU INQIS 



Santiago 

OR 

For the Red, White and Blue 
A War Drama to. Four Acts 

By JOHN A. FRASER 
Price, 25 cents 

CHARACTERS 

Capt. Oscar Hutton, TJ. S. A. In love with Cora. .Leading Juvenile 

Lieut. Fisk, U. S. A. In love with his duty Juvenile bit 

Milton Merry, U. S. N. In love with Bess Light Comedy 

Lieut. Cristobal, S. A. In love with soldiering Straight 

Dr. Harrison, Red Cross H. S. In love with surgery 

Straight old man 

Elmer Walton, banker. In love with Spanish bonds 

Character old man 

Phillip Basset, his stepson. In love with Ysobel Juvenile 

Fernando Diaz, Walton's cashier, afterwards S. A. In love with- 

Cora Heavy 

Beverly Brown, Walton's butler, afterwards Red Cross H. S. In 

love with chickens Negro Comedy 

Cornelius Dwyer, Walton's 1 coachman, afterwards U. S. A. In 

love with "Naygurs" Irish Comedy 

Antonio Carlos, a Cuban planter. In love with Spain 

Character old man 

Cora Basset, Walton's stepdaughter. In love with Oscar. .Juvenile 

Bess Walton, Walton's daughter. In love with Milton Ingenue 

Ysobel Carlos, Antonio's daughter. In love with Phillip. .. .Juvenito 
American Soldiers, American Sailors, Spanish Soldiers, Guerillas. 
Actual time of playing, two hours. 

SYNOPSIS 

ACT I. The ball at Walton's, Washington, D. C. Handsome in- 
terior. 

ACT II. The Red Cross Hospital. First day's battle of Santiago. 
Exterior. 

ACT III. Scene 1. — Interior Guerilla headquarters in the Sierra 
Cobra, near Santiago. Scene 2. — Exterior. The underbrush of Si- 
erra Cobra. Scene 3. — Fight in the mountain pass, second day's 
battle of Santiago. Exterior. 

ACT IV. Hotel Tacon, Santiago, on the night of the surrender. 
Interior. 

NOTE. — Walton, Dr. Harrison and Carlos may double easily, avA 
the piece played with nine males, three females. 

The best Cuban war play ever written. Easy to produce, but 
very effective. Thrilling situations, fine comedy, intense clima::p. 
Comic Irishman and Negro. Three magnificent female parts. Pic- 
turesque Spanish villain and heroic juvenile lead. N° special scen- 
ery is required, as every regular theatre, in its ordinary equip- 
ment, has every set called for. Adapted to both professional anrt 
imateur companies. 

Address Orders to 

THE DRAMATIC PUBLISHING COMFAKY 

CHICAGO. JLUNOI3 



Capt. Racket 

A Comedy in Three Acts 

By CHARLES TOWNSEND 



Price, 25 cents 



This play by Mr. Townsend is probably one of his most populai 
productions; it certainly is one of his best. It is full of action from 
Start to finish. Comic situations rapidly follow one after another, 
and the act endings are especially strong and lively. Every char- 
acter is good and affords abundant opportunity for effective work. 
Can be played by five men and three women, if desired. The 
same scene is used for all the acts, and it is an easy interior. A 
most excellent play for repertoire companies. No seeker for a 
good play can afford to ignore it. 

CHARACTERS 

: CAPT. ROBERT RACKET, one of the National Guard. A lawyer 

when he has nothing else to do, and a liar all the time 

• Comedy lend 

OBADIAH DAWSON, his uncle, from Japan, "where they rapke 
tea" «, „ Comedy old man 

TIMOTHY TOLMAN, his friend, who married for money, and is 

sorry for it Juvei.ke man 

MR. DALROY, his father-in-law, jolly old cove Eccentric 

HOBSON, waiter from the "Cafe Gloriana," who adds to the 
confusion Utility 

CLARICE, the Captain's pretty wife, out for a lark, and up to 
"anything awful" .Comedy lead 

MRS. TOLMAN, a lady with a temper, who finds her Timothy a 
vexation of spirit Old woman 

KATY, a mischievous maid Soubrette 

TOOTSY, the "Kid," Tim's olive branch Props. 

SYNOPSIS 

Act I. Place: Tim's country home on the Hudson near New 
York. Time: A breezy morning in September. The Captain's 
fancy takes a flight and trouble begins. 

Act II. Place: the same. Time: the next morning. How one 
yarn requires another. "The greatest liar unhung." Now the 
trouble increases and the Captain prepares for war. 

Act III. Place: the same. Time: Evening of the same day. 
More misery. A general muddle. "Dance or you'll «iie." Cornered 
at last. The Captain owns up. All serene. 

?ime of playing: Two hours. 

^ Address Orders to 

THE DRAMATIC PUBLISHING COMPANY 

V CHICAGO. ILLINOIS 

s 



BLUNDERING BILLY 

A FARCICAL COMEDY IN THREE ACTS 

By 
ANTHONY E. WILLS 

Author of "Burley's Ranch," "Her Gloves," etc. 



PRICE, 25 CENTS 



The reception room of "The Strathmore, " a family 
hotel on the shores of San Francisco Bay, near Alameda, 
California, is the scene where the action of all three acts 
of this play takes place. Act I, Morning ; Act II, After- 
noon ; Act III, Evening. Two hours are required for the 
presentation. The five male and three female characters 
are as follows: 

Ezra Tuttle, a rich mine owner. 

Billy Butler, always in trouble. 

Lieut. Griswold, from the Presidio Reservation. 

Sing Toy, a servant. 

Hank Dibble, an Old Salt. 

Dorothy Tuttle, Ezra's daughter. 

Clarissa Burnham, a guest at "The Strathmore. ' ' 

Woyo San, a Japanese girl. 

A popular comedy because it is lively and funny and 
full of action. "Blundering Billy" has been tried and 
found always a "winner." 



Address orders to 

THE DRAMATIC PUBLISHING COMPANY 

CHICAGO, ILLINOIS 



Practical Instructions for 
Private Theatricals 

By W. D, EMERSON 

Author of "A Country Romance," "The Unknown Rival,™ 
"Humble Pie," etc. 



Price, 25 cents 



Here is a practical hand-book, describing in detail all the 
accessories, properties, scenes and apparatus necessary for an 
amateur production. In addition to the descriptions in words, 
everything is clearly shown in the numerous pictures, more 
than one hundred being inserted in the book. No such useful 
book has ever been offered to the amateur players of any 
country. 

CONTENTS 

Chapter I. Introductory Remarks. 

Chapter II. Stage, How to Make, etc. In drawing-rooms 
or parlors, with sliding or hinged doors. In a single large 
r^om. The Curtain; how to attach it, and raise it, etc. 

Chpnter III. Arrangement of Scenery. How to hang it. 
Drapery, tormentors, wings, borders, drops. 

Chaptp~.IV. Box Scenes. Center door pieces, plain wings, 
door wings, return pieces, etc. 

Chapter V. How to Light the Stage. Oil, gas and electric 
light. Footlights, Sidelights, Reflectors. How to darken the 
stage, etc. 

Chapter VI. Stage Effects. Wind. Rain, Thunder, Break- 
ing Glass, Falling Buildings, Snow, Water, Waves, Cascades, 
Passing Trains, Lightning, Chimes, Sound of Horses' Hoofs, 
Shots. 

Chapter VII. Scene Painting. 
Chapter VIII. A Word to the Property Man* 
Chapter IX. To the Stage Manager. 
Chapter X. The Business Manager. 

Address Orders to 
THE DRAMATIC PUBLISHING COMPANV 

CHICAGO. ILLINOIS 



LIBRARY OF CONGRESS 



PLAYL 




01X401 646 P i 



And Entertainment Books. 

JljEING the largest theatrical booksellers in 
T+* the United States, we keep in stock the most 
complete and best assorted lines of plays and en- 
tertainment books to be found anywhere. 

We can supply any play or book pub- 
lished. We have issued a catalogue of the best 
plays and entertainment books published in 
America and England. It contains a full 
description of each play, giving number of char- 
acters, time of playing, scenery, costumes, etc. 
This catalogue will be sent free on application. 

The plays described are suitable for ama- 
teurs and professionals, and nearly all of them 
may be played free of royalty. Persons inter- 
ested in dramatic books should examine our cat- 
alogue before ordering elsewhere. 

We also carry a full line of grease paints, 
face powders, hair goods, and other "make-up" 
materials. 

The Dramatic Publishing Company 
CHICAGO 



LIBRARY OF CONGRESS 




017 401 646 A 







